Tag Archives: Horror

Enter A New Dimension of Horror

21 Oct , 2011,
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Something eerie’s happening at *SCAPE.

The ghoulies and ghosties are out in force for the opening of Museum of Horrors, a one-of-a-kind show by Movie Mania that pays homage to Hollywood’s meanest monsters, goriest scenes, and creepiest themes.

It’s a scream-a-minute experience, rife with disturbing dioramas,  interactive sets, and monsters galore. What’s more, visitors can expect a whole new dimension of horror, in spook-tacular 3D, as they meander through Asia’s first ever 3D Halloween mini-maze.

Check out the Museum of Horrors promo video here:

Event Information:

Museum of Horrors II (in 3D)

Location: *SCAPE, 2 Orchard Link (next to Cathay Cineleisure Orchard)

Opening Hours: 21 Oct to 2 Nov 2011, 11am to 11pm daily

Tickets are available at the *SCAPE Information Counter. You can also purchase tickets online at www.gatecrash.com

As part of our Halloween promo, we’ve got some Museum of Horrors tickets up for grabs. All you need to do is LIKE our Facebook fanpage, and answer a simple question to qualify.

We’ve got 2 pairs of tickets to give away, and this contest ends this weekend (23 Oct), so get to it!

The Museum of Horrors II (3D)

30 Sep , 2011,
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The Museum of Horrors - Promo Graphic

If you’re just dying for a fear fix this Halloween, look no further than The Museum of Horrors, returning to *SCAPE this year in 3D from 21 October to 2 November.

Created by the Movie Mania gang, this Halloween show in the heart of Orchard Road promises to be a “monstrous exhibit of horrifying proportions”, featuring more than 20 interactive sets and dioramas depicting some of  Hollywood’s most terrifying monsters.

This year, The Museum of Horrors also features a 3D horror fun house – the first of its kind in South East Asia, so be prepared to be scared.

Be sure to check out the official site for more details!


Fright Night: It's got bite!

22 Sep , 2011,
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Fright Night - Poster Art

Bloodsuckers these days suck.

They’re emo and effeminate, they sparkle and glitter in the sun instead of going up like a pile of dry kindling, and they’ve all got about as much street cred as Justin Bieber. It’s a sorry state of affairs (Bram Stoker’s probably gonna turn in his grave if he knew), which is why the new Fright Night is such a gem.

Helmed by Craig Gillespie, this remake of the 1985 cult classic puts a modern spin on the original though the story and despite the paradigm shift, the premise, at least, remains mostly the same.

Instead of being a complete dork, Charlie’s (played by Anton Yelchin, who nevertheless looks like a dork) a cool kid now. He hangs out with the jocks, has a semblance of a life, and it’s high school nerd Ed who thinks there’s something wrong with Charlie’s next door neighbour Jerry Dandridge (played by Colin Farrell).

Ed, of course, bites off more than he can chew, and that’s when things begin to get exciting.

Naturally, it’s Colin Farrell who steals the first half of the show. His vampire is the quintessential nocturnal predator – tall, dark, handsome, fundamentally vengeful, and incredibly dangerous. It’s a nice change, seeing as how Hollywood emasculated the vampires in Twilight.

His performance is mirrored by David Tennant, who plays Las Vegas illusionist Peter Vincent with the same kind of frenetic charm and irreverence  that made him so endearing in both Doctor Who and Hamlet.

There’s much to be said about the midori-chugging curio collector and charlatan (and also a fair bit of plot exposition to boot), but why read about it when you can actually watch it?

All in all a great movie, and probably one of the best remakes I’ve seen so far. I’m kinda keeping my fingers crossed for The Thing, but that’s another movie for another month.

Don’t forget to check this one out, folks. And that goes double if you’re a fangboy.

My, what big cliches you have!

14 Mar , 2011,
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Red Riding Hood - Poster Art

With slim pickings at the local box office this past week, there was only one film that evinced any semblance of fantasy, and that was Red Riding Hood.

Helmed by Catherine Hardwicke, the director of the alternately acclaimed and reviled Twilight Saga, Red Riding Hood casts Amanda Seyfried (who isn’t actually half bad) in the role of Valerie, a spunky lass in the mountain village of Daggerhorn.

She’s in love with a lumberjack, Peter (played by Edward Cullen hopeful Shiloh Fernandez), but her parents have already betrothed her to Henry, the son of the town smith.

As if the cliched love triangle isn’t enough, we get a whiff of the supernatural – there’s a big, bad wolf on the loose, and it’s no longer capable of being placated by the animal sacrifices.

Valerie’s sister Lucy is the wolf’s latest victim, and as the village fields an angry mob (armed with axes, pitchforks and torches no less) to hunt the wolf, we discover that there is more to Red Riding Hoods tale than meets the eye.

Ultimately, Father Solomon, a famed witch hunter is called in, and Red Riding Hood turns from Heidi in the Alps into The Crucible, before climaxing with a classic Star Wars moment.

Hardwicke’s directorial efforts didn’t impress me. There was little to differentiate Red Riding Hoods treatment and execution from Twilight, and rather than being anything like a dark fantasy, Red Riding Hood turned out to be little more than another teenage romance with supernatural elements.

There was some attempt at unifying the mise en scène, and while Daggerhorn looked the part of a dreary, landlocked alpine village stuck in the middle of a perpetual winter, the whole snow thing started getting old after the first 30 minutes.

I’m quite certain the sole reason for it was just so Valerie’s red cloak could paint a pretty picture against a pristine backdrop, but considering Hardwicke’s credentials, I’d have expected something better. And while we’re on about that, let’s not forget how the boys’ costumes are color coordinated – Henry’s dressed in brown, while Jacob, I mean Peter, is dressed in black. Obvious, much?

The film’s saving grace was probably Gary Oldman, who played a pretty convincing cleric – he radiated smarm and self-righteous indignation, and his stellar performance put the relatively young cast to shame. Despite only a dozen or so scenes worth of screen time, it was good ol’ Gary who almost saved the show (though Seyfried’s intensity came in a close second).

Sadly, though, it wasn’t quite enough.

My verdict?

Watch only if you’re a Twilight fan, a desperate teenager with delusions of being spirited away by a furry, or a mix of the two. It’s a bore otherwise.

An acute case of clever

7 Feb , 2011,
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Triangle - Poster Art

If there’s one thing I actually enjoy about British cinema, it’s that you can always expect a good story. And Triangle, which opened quietly over the Lunar New Year weekend, stayed true to this promise.

The premise, at least initially, is not particularly horrifying.

Jess (Melissa George), a single mother with an autistic son, has been persuaded by a friend, Greg, to take a much deserved break. And that’s why she decides, after packing her son off to school, to join Greg and his friends for a day out at sea in Greg’s yacht, the Triangle (from which the film takes its name).

Things get complicated when they’re hit by a storm, losing one of their party (Heather, who has all of 15 minutes of screen time) in the process.

Hope comes in the form of a passenger liner, the Aeolus, and our stranded vacationers hail it after seeing a figure on deck. Clambering aboard, they begin making their way to the skipper’s office, but are sidetracked when they discover the decks and corridors abandoned. As they navigate the ship’s seemingly endless maze of rooms and passageways, Jess, who has been on edge the entire time, claims that she remembers the ship, that she’s been on it before, and things come to a head when she spies an elusive figure, prompting the group to split up and investigate.

That’s only the setup, mind you, and where the twist happens, completely changing the game plan.

It gets a whole lot better and gorier after that, I promise you.

Fans of Donnie DarkoHigurashi no Naku Koro Ni (and by association, Umineko no Naku Koro Ni) will certainly appreciate how Triangle plays out. Director Christopher Smith, who was also responsible for black comedy Severance and Black Death (which I’m really hoping to watch), delivers not only a healthy does of plot and the heebie-jeebies in Triangle,  but the film’s also unique in the sense that it’s one of the few movies where time loops, which take a fair bit of panache to execute, are used as a plot device.

There’s subtle, yet powerful foreshadowing. The story of Sisyphus, doomed to repeatedly roll a rock up a hill for eternity, is recounted by one of the characters early on, and the seagulls, ever present, evinces Coleridge’s Rime of the Ancient Mariner.

Even with such a tricky premise, the film delivers. Its narrative isn’t hard to follow, and through its three iterations, fills in gaps that aren’t immediately apparent early on.

The acting, especially George’s performance, proved proficient and believable. The mania and nervous energy radiating from her was certainly impressive, and Smith’s control of both pacing and atmosphere, his camera work, and the way key scenes were crafted lent the movie a gripping edge.

It’s a shame such a great film’s showing on only three screens, and only for another week or so. If you like this kinda thing, you better catch it quick.

You won’t be disappointed.